European Art
Artist: Jean-Baptiste-Camille Corot, French, 1796–1875

The Harbor of La Rochelle


Oil on canvas

unframed: 50.5 × 71.8 cm (19 7/8 × 28 1/4 in.)
Bequest of Stephen Carlton Clark, B.A. 1903
This view of the French harbor of La Rochelle, on the Bay of Biscay, as seen from the second-story window of a house on the Quai Vallin, is composed with the classic order and serenity that Corot drew from his study of Nicolas Poussin and Claude Lorrain. Though painted in the summer of 1851 when Corot was already producing the feathery gray landscapes that brought him his greatest popularity, this canvas harks back to his earlier style in its arrangement of architectural masses illuminated and solidly modeled by sunlight.
On view
19th century

Alfred Robaut Collection, Paris (purchased from the artist at the Arras exhibition, 1868); Constant Dutilleux, Paris; Dutilleux sale, Hotel Drouot, Paris, 26 March 1874, no. 23 (withdrawn at 10,000); Durand-Ruel Dealers, New York; Baron Nathaniel de Rothschild; Baron Leonine Henri de Rothschild; Wildenstein & Co., New York; Stephen C. Clark Collection, New York.


Michael Conforti et al., The Clark Brothers Collect: Impressionist and Early Modern Paintings, exh. cat. (Williamstown, Mass.: Sterling and Francine Clark Art Institute, 2006), 135–37, 184, 316, 322, no. 65, fig. 112, 114.

Artists on Art: Observations by Yale Faculty on Selections from the Yale University Art Gallery (New Haven, Conn.: Yale University Art Gallery, 1999), 20–21, ill.

Germain Bazin, Corot (Paris: Éditions Pierre Tisné, 1942), 119, no. 75, fig. 75.

Loudolphe de Virmond and Théophile Silvestre, Histoire des artistes vivants français et étrangers; études d’après nature (Paris: E. Blanchard, 1856), 404.

Paul Mantz, “Corot,” Gazette des Beaux-Arts (November 1861): 429, 431.

Antonin Proust, Grand Dictionnaire Universel du XIXe sie`cle (Paris: Administration du Grand Dictionnaire Universel, 1873), 207–09.

Henri Dumesnil, Corot: souvenirs intimes (Paris: Rapilly, 1875), 126, no. 58.

Théophile Silvestre, Les artistes français: études d’après nature (Paris: G. Charpentier, 1878), 265.

Léon Roger-Milès, Corot (Paris: Librairie de l’art, 1891), 46, 83.

Léon Roger-Milès, Album classique des chefs d’oeuvre de Corot: comprenant 40 reproductions d’après les toiles les plus célèbres du maître: précédées d’un essai critique, E´d. du monument (Paris: Braun Clément, 1895).

Maurice Hamel, Corot et son oeuvre (Paris: Goupil & Cie, 1905), 28.

Alfred Robaut and Etienne Moreau-Nélaton, Histoire de Corot et de ses œuvres, 1 (Paris: H. Floury, 1905), 128–32, 137–38, 230–31, no. 69, Vol. 1&2.

Etienne Moreau-Nélaton, Corot raconté par lui-même (Paris: Henri Laurens, 1924), 76–77, 82, Vol 1, fig. 118.

Marc Lafargue, Corot (Paris: F. Rieder & cie, 1925), 39, fig. Plate 25.

Élie Faure, Corot (Paris: Éditions G. Crès, 1931), fig. 53.

Walter Pach, Catalogue of European and American Paintings 1500–1900. Masterpieces of Art (New York: Art Aid Corporation, 1940), 175, 177, no. 253, fig. 253.

Pierre Courthion, Corot raconté par lui-même et par ses amis, Pensées et écrits du peintre (Geneva: P. Cailler, 1946), Vol 1&2, fig. plate 60, 145.

Stephen Carlton Clark, A collectors taste: a benefit exhibition of paintings. Selections from the collection of Mr. and Mrs. Stephen C. Clark for the benefit of the Fresh Air Association of St. John, exh. cat. (New York: M. Knoedler & Co., 1954), no. 5.

Daniel Baud-Bovy, Corot (Geneva: A. Jullien, 1957), 200.

François Frosca, Corot, sa vie et son œuvre (Brussels: Elsevier, 1958), 100–08, ill.

André Coquis, Corot et la critique contemporaine (Paris: Dervy, 1959), 60–61.

Art Institute of Chicago, Corot 1796-1875: an exhibition of his paintings and graphic works, the Art Institute of Chicago, October 6 through November 13, 1960, exh. cat. (Chicago: Art Institute of Chicago, 1960), 22, no. 76.

“Yale Exhibits Clark Bequest,” Art Journal XXV (Winter 1961–1962): 118.

Ary Bob de Vries, In het licht van Vermeer, exh. cat. (Den Haag: Mauritshuis, 1966), no. 40, ill.

Francoise Forster-Hahn, French and School of Paris Paintings in the Yale University Art Gallery (New Haven, Conn.: Yale University Press, 1968), 4–5.

The Past Rediscovered: French Painting 1800–1900, exh. cat. (Minneapolis: Minneapolis Institute of Arts, 1969), no. 17, ill.

Camille Mauclair, Corot, peintre-poète de la France (Paris: A. Michel, 1962), 42, 44.

Katherine Neilson and Andrew Carnduff Ritchie, Selected Paintings and Sculpture from the Yale University Art Gallery (New Haven, Conn.: Yale University Press, 1972), no. 73, ill.

Kermit Swiler Champa, Studies in Early Impressionism (New Haven, Conn.: Yale University Press, 1973), 15, fig. 20.

Jean Leymarie, Corot (New York: Rizzoli International Publications, Inc., 1979), 91–92.

“Life of Corot,” American Artists (1976).

Helen Gardner, Horst De la Croix, and Richard G Tansey, Gardner’s Art through the ages, 7 (New York: Harcourt Brace Jovanovich, 1980), 755–56.

Samson Lane Faison Jr., The Art Museums of New England (Boston: David R. Godine, 1982).

Madeleine Hours, Jean-Baptiste-Camille Corot (New York: Harry N. Abrams, Inc., 1972), 84.

Jean Selz, La vie et l’œuvre de Camille Corot (Paris: ACR Edition, 1988), 164–66, 170–71, ill.

Anna Maria Arias de Cossia, La pintura del siglo XIX en Francia, 1 (Barcelona, Spain: Vicens-Vives, 1989).

Michael Clark, Corot and the Art of Landscape, 1 (New York: Cross River Press, 1991), 91–94, fig. 94.

Norma Broude, Impressionism: a feminist reading: the gendering of art, science, and nature in the nineteenth century (New York: Rizzoli International Publications, Inc., 1991), fig. Pl. 19.

Iain Gale, Corot (London: Studio Editions Ltd, 1994), 92–3, ill.

Martin Dieterle and Claire Lebeau, Corot: la lumière des villes (Paris: Herscher, 1996), 54–5, ill.

Michael Pantazzi et al., Corot: 1796-1875, exh. cat. (Paris: Reunion des Musees Nationaux, 1996), 296.

Gary Tinterow et al., Corot, exh. cat. (New York: The Metropolitan Museum of Art, 1996), 219–20, no. 96, fig. 70.

Vincent Pomarède, Corot e l’arte moderna: souvenirs et impressions, exh. cat. (Venezia, Italy: Marsilio, 2009), 2–5, fig. 1.

David Liot, Michael Pantazzi, and Vincent Pomarède, De Corot à l’art moderne: souvenirs et variations, exh. cat. (Paris: Hazan, 2009), 16, fig. 1.

Galeries Nationales du Grand Palais, National Gallery of Canada, and The Metropolitan Museum of Art, Corot (Paris: Connaissance des Arts, 1996), 50–1, fig. 46.

Vincent Pomarède, Corot (Paris: Flammarion, 1996), 96, ill.

Kobe Shiritsu Hakubutsukan, Corot: souvenirs et variations, exh. cat. (Tokyo: Kokuritsu Seiyo Bijutsukan, 2008), 14–15, fig. 1.

Alan Shestack, ed., Yale University Art Gallery Selections (New Haven, Conn.: Yale University Art Gallery, 1983).

Note: This electronic record was created from historic documentation that does not necessarily reflect the Yale University Art Gallery’s complete or current knowledge about the object. Review and updating of such records is ongoing.